galeria nara roesler
carlito carvalhosa
Carlito Carvalhosa to have his first solo exhibition at Galeria
opening
Nara Roesler, featuring a brand new installation specifically
30.08.2014 19h > 22h
designed for the gallery’s facilities
exhibition
01.09 > 05.10.2014
Carlito Carvalhosa will have his first solo exhibition at Galeria Nara
seg > sex 10h > 19h
Roesler beginning on August 30, featuring a mega installation
sáb 11h > 15h
especially designed for the gallery’s facilities. The piece consists of
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old wooden lighting posts suspended throughout the venue,
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combined with glass pieces scattered on the floor. At some points,
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the logs go across the walls, which help keep them up; at other
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places, they are kept hanging by the intersections of two or more
posts.
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t 55 (11) 3063 2344
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The main room features large wooden artifacts, alongside drinking
glasses and fluorescent lamps attached to the rear of the room. It
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is as though the floor has been suspended onto the wall. This area
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also includes roughly 16 small drawings created like “carvings” on
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the blue paint. At the front of the gallery, the glass window is
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taken by drinking glasses and lamps, this time laying on the floor
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and “going through” the window towards the street.
the concept behind the artwork
As they go through the white cube, the posts – useless pieces of
urban furniture – are resignified and resignify the place they are
in. They bring into the gallery the everyday universe constituted by
elements that are at once nature (wooden logs) and human action
(lighting posts). In their state of suspension in the environment,
which conserves and evidences actions of aesthetical purpose,
são paulo -- avenida europa 655 -- jardim europa 01449-001 -- são paulo sp brasil -- t 55 (11) 3063 2344
rio de janeiro -- rua redentor 241 -- ipanema 22421-030 -- rio de janeiro rj brasil -- t 55 (21) 3591 0052
these logs appear to eternalize the movement through which
culture evolves from the savage principle into the complexity of
the manmade conglomerate.
Everything in the installation points to the perception of human
activity, including its setup – old metal rings have been kept on the
extremities of the logs, and the large nuts and screws that secure
the joint clamps are visible. Matter seems gravity-free. The gallery
becomes the guardian of the suspension, in time and space, of
nature converted into culture. And thus its character as art is
configured: in the articulation between the two poles that
constitute the human being, and in the impression of rendering
the transitory eternal.
The drinking glasses and lamps on the floor convey a feeling of
fragility to the appearance of imminent though statically-staged
fall, as though they could break at any moment. The action of
natural wood (the wooden log) is superimposed onto culture (the
manmade glass), showing the latter’s susceptibility.
As art historian Lorenzo Mammi put it, “surely, the paradox of the
immobility of the transitory is not particular to Carvalhosa’s work
only but to all art, and perhaps all form. All formalizations are acts
of pride; the natural thing is to let go. In Carvalhosa’s work,
however, this issue seems to take on a more restless character
and therefore become more central. Not many works by other
artists make it so evident that to formalize is to stem a matter
that flows, to establish a horizontal incision onto a descent that is
slow, but cannot be stopped forever. Carlito Carvalhosa’s work
speaks of the uncomfortable coexistence of time and eternity.”
about the artista
Carvalhosa’s manipulation of light and space is simultaneously an
act of concealment and revelation. In the 1980s, he was a
member of the São Paulo based collective Grupo Casa 7, alongside
Rodrigo Andrade, Fábio Miguez, Nuno Ramos, and Paulo Monteiro
and like his colleagues, produced large paintings with an emphasis
on the pictorial gesture. Recently, however, Carvalhosa has
expanded his practice to installation, employing fabric, mirrors,
and lights to create experiential and participatory environments.
são paulo -- avenida europa 655 -- jardim europa 01449-001 -- são paulo sp brasil -- t 55 (11) 3063 2344
rio de janeiro -- rua redentor 241 -- ipanema 22421-030 -- rio de janeiro rj brasil -- t 55 (21) 3591 0052
In 2011, he was the first Brazilian artist to occupy the atrium at
MoMA with his installation Sum of Days. Consisting of a structure
made of translucent material, hanging from the ceiling and
forming a labyrinth, Sum of Days obscured the perimeter of its
surrounding architectural space, allowing for an experience of
total immersion. Microphones were distributed in the interior of
the structure playing back recordings of ambient noise captured
from the previous day. In 2013, Carvalhosa was selected to
inaugurate the new space of the Museu de Arte Contemporânea
da Universidade de São Paulo with the site specific Sala de
espera. An installation consisting of over forty posts, 12 meters in
length and originally used as lamp posts for street lighting, Sala
de espera horizontally cut the Niemeyer building, transforming an
interior building into a public sphere.
Born in 1961 in São Paulo, Carlito Carvalhosa lives and works in Rio
de Janeiro. He featured in the 18th São Paulo Biennial, Brazil
(1985); the Havana Biennial, in Cuba (1986 and 2012); and the
Mercosul Biennial, in Porto Alegre, Brazil (2001 and 2009). Recent
group shows include: 30 x Bienal (Fundação Bienal de São Paulo,
São Paulo, Brazil, 2013); Trienal no Alentejo (Alentejo, Portugal,
2013); Brasil vívido (S|2, New York, USA, 2013); As tramas do
tempo na arte contemporânea: estética ou poética? (Instituto
Figueiredo Ferraz, Ribeirão Preto, Brazil, 2013); and Rio de
imagens (Museu de Arte do Rio de Janeiro, Rio de Janeiro, Brazil,
2013). Recent solo shows include: Sala de espera (Museu de Arte
Contemporânea da Universidade de São Paulo, São Paulo, Brazil,
2013); Sum of days (MoMA, New York, USA, 2011); Lugar comum
(Casa de Cultura Laura Alvim, Rio de Janeiro, Brazil, 2011); Projeto
respiração: regra de dois (Fundação Eva Klabin, Rio de Janeiro,
Brazil, 2011); and A soma dos dias (Pinacoteca do Estado de São
Paulo, São Paulo, Brazil, 2010). His work is included in renowned
collections such as Pinacoteca do Estado de São Paulo, São Paulo;
Museu de Arte Moderna de São Paulo, São Paulo; e Museu de Arte
Contemporânea da Universidade de São Paulo, São Paulo, all in
Brazil; and The Cisneros Fontanals Art Foundation, Miami, USA,
among others.
são paulo -- avenida europa 655 -- jardim europa 01449-001 -- são paulo sp brasil -- t 55 (11) 3063 2344
rio de janeiro -- rua redentor 241 -- ipanema 22421-030 -- rio de janeiro rj brasil -- t 55 (21) 3591 0052
são paulo -- avenida europa 655 -- jardim europa 01449-001 -- são paulo sp brasil -- t 55 (11) 3063 2344
rio de janeiro -- rua redentor 241 -- ipanema 22421-030 -- rio de janeiro rj brasil -- t 55 (21) 3591 0052